By Noah Haidle Directed by Anne Kauffman

Home , Anne Kauffman, A Red Orchid Theatre, Goodman Theatre, South Coast Repertory, Talk Radio (play), Theater Oobleck

OCTOBER 2013

SMOKEFALL BY NOAH HAIDLE DIRECTED BY ANNE KAUFFMAN

1 Imagining Smokefall: A Conversation with Noah Haidle

By Tanya Palmer

Noah Haidle’s latest play, Smokefall, examines life’s big questions through the prism of an ordinary Midwestern family. Inspired in equal parts by Thornton Wilder’s simple evocative humanity, Samuel Beckett’s bleak poetry and Haidle’s own wild theatrical imagination, it begins on an average morning as the family is getting ready for their day, and then telescopes in—and out—to look at both the minutia of daily life and the broader implications of choices made for the individual, the family and the community. Funny and painful, the play was first developed as part of the Goodman’s New Stages festival, and was subsequently featured in the prestigious Pacific Playwrights Festival at South Coast Repertory in Costa Mesa, California, where it was produced this spring in a co-production with Goodman Theatre helmed by award-winning New York–based director Anne Kauffman. In a recent conversation with Tanya Palmer, the Goodman’s director of new play development, Haidle—whose work was last seen at the Goodman in 2006’s Vigils—spoke about the genesis of the play and where it fits into the trajectory of his own Noah Haidle burgeoning career as a playwright and screenwriter.

Tanya Palmer: Can you talk a little bit about the origin and evolution of Smokefall? Noah Haidle: The director of Smokefall, Anne Kauffman, says the big question of this play is: is life worth living? Smokefall is an incredibly personal play and while I don’t feel comfortable having people understand the exact life circumstances, my circumstances, that inspired me to write a play about the meaning of existence, I can talk about it as a piece of writing. It’s been around a long time. Act One and parts of Act Two were part of a much larger project that the Goodman was very supportive of, a project called Local Time, which consisted of 12 two hour, real-time plays that took place over 24 hours in a Midwestern town. Each play was named for the time it took place, like 11am to 1pm or 5 to 7pm. The first act ofSmokefall came from a part of one of those plays: 7 to 9am. The Goodman did a reading of that play five years ago. So it’s very strange to have been working on this over such a huge period of time. It’s not exactly the same as that earlier play, but it has similar characters and situations. One of the challenges is to have continuity between the beginning and the end. It’s something that has been with me for a long time, and now been with you and with Anne for a long time. My life has changed so much over those five years. Working on this play has been one of the only continuous activities during that time. In a lot of my work before now I’ve been hiding. Smokefall is less subterfuge. It’s set in a house in Grand Rapids. It’s a life. It’s a mom. It’s a daughter. It’s a son. It’s a family play set in my hometown. And there are very literal things, facts, names that only I really know about, but the people who lived it will know as well. But, would you recognize my life? Probably not. Will I and others understand the emotional life that went into the thing? Absolutely.

TP: As you said, the play is set in Grand Rapids, and it’s about a Midwestern family. Over the last several years you have lived on both coasts— and now you’re back in Michigan, where you grew

1 up. Obviously the setting is personal to you, but was there something particular about the Midwest or Midwestern characters that you were interested in exploring or capturing in this play? NH: I don’t think so, beyond the fact that I grew up in Midwestern culture and therefore am a Midwestern person. But then again I don’t think I could see the remarkableness or strangeness or unusualness of a Midwestern story. The writer Allan Seager, in his biography The Glass House about Theodore Roethke, a poet from Saginaw, Michigan, who’s one of my favorites, said, “There is no grass as green as the grass in your backyard.” I think of Grand Rapids not as a particularly literal place anymore. I mean, the stuff that happens in this play, and other plays that I set in Grand Rapids, ain’t possible, you know? They’re beyond the limits of reality. So Grand Rapids for me is like the landscape of my imagination. When William Faulkner created Yoknapatawpha County, he drew a map of it and in the bottom right corner he wrote, “William Faulkner is sole proprietor.” And so, Grand Rapids, in a way, is that thing for me. It’s not a literal place anymore. It’s a mythological place in the way that all pasts, all origins, take on a mythology.

TP: You’ve been writing plays for several years now. How would you characterize this play in terms of how it fits into your body of work? Do you feel as if it’s similar to your previous plays, or has your work changed over the years? Is it a departure from your perspective? NH: I think, I hope, that the emotional world I explore in this play—as opposed to some of my earlier plays—the despair and the hope and the joy are earned and are not just a young man’s supposition, not just thought experiments to a degree. It feels like a totally new way of writing. It feels rawer to me. I feel more exposed and scared. More is on the line. More is at risk. What it means to me, and how much it means to me. So, hopefully in turn it will mean a different thing to the audience.

TP: You’ve described Thornton Wilder and Samuel Beckett as being major influences on this play. NH: Or sources to rip-off. TP: Or sources to rip-off— NH: Well, you know T.S. Eliot said that minor poets borrow, major poets steal. And I am not in any way pretending that I didn’t. Or don’t. It’s an interesting question in terms of intellectual copyright, in terms of acknowledgement, in terms of the “originality.” Like, how many original thoughts have you had? Some people deny and pretend that their gifts and talents and voices are entirely born out of nothing, or from the gases of the universe, but I can’t. At some level the influence of certain other writers—like Wilder and Beckett—on the play is unconscious, more an emotion or feeling that is identified with and internalized and then synthesized back out in the way that any feedback machine would do after enough input. But there’s also the question of why them—why those writers? And it’s the question that can never be answered. It’s like asking why you fall in love with who you fall in love with. You can’t explain why you love this person or thing that you love. It isn’t rational. Their writing feels true in a way that other people’s does not feel as true to me. And then I steal from them. So did I steal the narrator from Our Town? Yeah, I stole the narrator. But with Our Town, Thornton Wilder himself talked about how he had read The Making of Americans by Gertrude Stein and Our Town was his response to that. So, is my lineage of thoughts and beliefs in stagecraft linked to him? Absolutely. Is it linked to Beckett? Absolutely. No question. But Beckett comes from his own lineage which I can point to. It’s kind of like finding your family tree.

Photo by Liz Lauren. TP: Hearing you talk about how writers influence you, and how they find their ways into the plays, seems connected to what you were saying about Grand Rapids: that your depiction of that place comes from memory but it’s also a fictionalized space created out of your imagination. All of these writers that you love, they are as much a part of that imaginative landscape and how you process the world as the lived memories from your childhood. So it makes sense that they are all tied in together, that they’re not separate necessarily. NH: Yes, that’s a good way to put it. I think of it as creating an imaginative real estate, that I own and that I understand the rules of. In my mind it’s not represented on this earth and it’s not in Grand Rapids. It’s not anywhere. But it is a space. I feel like there is an architecture to narrative. And much like when you feel safe and cared for in a building that’s well designed, you can feel the same kind of safety and comfort inside of a narrative. Narrative creates space, and specifically a play is performed in time. And you are inside that structure of time, and so when you’re in a well-structured, well-designed narrative, you are in a space. That’s what I want to create: an imaginative real-estate that exists in time as people come to it.

TP: You’re working with director Anne Kauffman on this piece. Can you talk a little about what that collaboration has been like and what you feel she brings to the process? NH: I can speak only in superlatives about Anne Kauffman. Stanley Kubrick said there are two types of artists: those who care and those who don’t. Anne cares about everything. In terms of my personal development as an artist, Anne has come along at kind of a liminal point in that construction, in that development. When we were at South Coast Repertory earlier this year and I was rewriting my face off she said, “Noah, you’re not a kid anymore. You are ready to be responsible for every moment that happens on stage. This is important.” You know this is a personal business. It’s not fake, it can’t be—it’s authentic. And so my relationship with Anne, and my relationship with you, is real. I know you the person, and you know me as a person. But we are also collaborating on a piece of art. Those lines get real blurred at times. You know? And it’s hard to separate. So with Anne, as both an artist and as a friend, it’s the highest level of collaboration that I’ve experienced. I’ve experienced not lesser, but different levels of collaboration with other artists and this, this is remarkable. And it’s also that Anne is directing this play for the second time. I’ve never had a director come along on the ride with me to a different production. I hope and trust that she will continue if we’re lucky enough to keep going.

Photo by Liz Lauren. ROBERT FALLS, ARTISTIC DIRECTOR ROCHE SCHULFER, EXECUTIVE DIRECTOR

presents SMOKEFALL By NOAH HAIDLE

Directed by ANNE KAUFFMAN

Set Design by KEVIN DEPINET

Costume Design by ANA KUZMANIC

Lighting Design by DAVID WEINER

Sound Design by LINDSAY JONES

Casting by ADAM BELCUORE

Dramaturg TANYA PALMER

Production Stage Manager KIMBERLY OSGOOD*

A WORLD-PREMIERE CO-PRODUCTION WITH SOUTH COAST REPERTORY, COSTA MESA, CALIFORNIA

4 cast IN ALPHABETICAL ORDER

Beauty...... Catherine Combs * Voice of Lenore...... Anne Fogarty * Violet...... Katherine Keberlein Footnote/Fetus Two/Samuel...... Guy Massey * Colonel/Johnny...... Mike Nussbaum * Daniel/Fetus One...... Eric Slater *

Setting: A house in Grand Rapids, Michigan. Time: Past, present and future.

There will be one 15-minute intermission.

Understudies never substitute for a listed player unless an announcement is made at the beginning of the play. Lauren Blakeman—Beauty; Sean Cooper*—Daniel/Fetus One; Anne Fogarty*—Violet; Shannon Parr—Footnote/Fetus Two/Samuel; Bob Thorson*—Colonel/Johnny.

Goodman productions are made possible in part by the National Endowment for the Arts; the Illinois Arts Council, a state agency; and a CityArts 4 program grant from the City of Chicago Department of Cultural Affairs and Special Events.

Goodman Theatre is a constituent of the Theatre Communications Group, Inc., the national service organization of nonprofit theaters; the League of Resident Theatres; the Arts Alliance Illinois and the Performing Arts Alliance; the League of Chicago Theatres; and the Illinois Theatre Association.

Goodman Theatre operates under agreements between the League of Resident Theatres and Actors’ Equity Association, the union of professional actors and stage managers in the United States; the Society of Stage Directors and Choreog- raphers, Inc., an independent national labor union; the Chicago Federation of Musicians, Local No. 10-208, American Federation of Musicians; and the United Scenic Artists of America, Local 829, AFL-CIO. House crew and scene shop employees are represented by the International Alliance of Theatrical Stage Employees, Local No. 2.

*Denotes member of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

5 notes A Glossary of Terms Somewhat Important for the Appreciation of Smokefall

APPLE MAGGOTS: A serious pest of many fruits, DIVIDED HIGHWAY: Whenever a highway has especially apples. been divided into two or more roadways by means of intermittent barriers. It is illegal to ASTROPHYSICS: Study of the physical and make any left, semi-circular, or U-turn with a chemical makeup and behavior of heavenly vehicle on the divided highway except through bodies. Einstein writes, “Only two things are an opening in the barrier. infinite; the universe and human stupidity, and I’m not sure about the former.” EMBANKMENT: Raised ground to redirect or prevent flooding. BLISS: Perfect joy. Unlike happiness, bliss cannot be sustained. Perhaps the most intense EMOTIONAL SUBLIMATION: The transformation feeling of pleasure. of unacceptable impulses (i.e., sex, anxiety, fear, hate) into socially acceptable and even CASTE: The hereditary class of Hindu society productive forms. distinguished by relative degree of spiritual purity. EXPULSION: To have been driven out, CHARDONNAY: Largely considered the especially in a violent manner. champion of white wine. Chardonnay should be served cold. Chardonnay served at room FALLOW: A period of intentional dormancy, temperature is much too bold. Best with typically in reference to land or minds, with shellfish or pasta. expectations to regain fertility.

COMIC TIMING: A performer’s regulation FIRE BLIGHT: A disease that cripples apple and of the moment of occurrence to achieve pear trees, leaving a burnt appearance on the amusement and perhaps joy. A show biz affected blossoms and twigs. maxim: “It’s not getting the laugh that’s hard, FOOTNOTE: An additional comment on the it’s repeating the laugh.” central argument, usually printed at the bottom CONSANGUINITY: Blood relationship. Arriving of a page to which attention is drawn by a from a common ancestor. reference mark in the body of the text.

CROUPIER: A casino employee who runs the FREE WILL: The ability to make choices which games by throwing dice, spinning the roulette are not externally determined. Epicurus writes, wheel and dealing cards. “Some things happen of necessity, others by chance, others through our own agency.” DETERMINISM: The idea that every event is necessitated by antecedent events and GAMBOL: A playful antic. conditions together with the laws of nature GAME THEORY: The science of strategy. and/or divine laws. Leibniz writes, “Everything A formal analysis of conflict and cooperation proceeds mathematically…if someone could with the aim of determining a player’s actions have a sufficient insight into the inner parts of that will produce the best outcome. Applicable things, and in addition had remembrance and to economics, evolutionary biology, interna- intelligence enough to consider all the circum- tional relations. Nash’s Equilibrium, a concept stances and take them into account, he would of game theory where the optimal outcome of be a prophet and see the future in the present a game is one in which no player has incentive as in a mirror.” 6 notes

to deviate from his chosen strategy, is PLASTIC MOUSE GUARDS: Placed around the perfunctorily described in the feature film base of a tree to prevent mice from chewing A Beautiful Mind. at its base.

GLOBAL VILLAGE: The entire world as being POST-STRUCTURALISM: Structuralism interdependent economically, socially and synthesizes the ideas of Freud, Marx and politically. Marshall McLuhan writes, “The new Saussure to portend that an individual is electronic interdependence recreates the world completely shaped by psychological, into the image of a global village.” sociological and linguistic structures over which he has no control. Post-Structuralism HANAKOTOBA: The Japanese form of the contends that grand narratives cannot language of flowers. determine the totality of the self. HEREDITARY: Relevant attributes that may PRETERNATURAL: Beyond the scope ordinarily be genetically transmitted from one generation found in nature. to another. SELF PITY: Excessive unhappiness over one’s INCONTINENCE: Involuntary urination own troubles. or defecation. SELF RELIANCE: Trust in one’s own efforts and LINEAGE: Lineal descent from ancestry. abilities. Emerson writes, “Trust thyself: every MALAISE: Long-standing feeling of unease heart vibrates to that iron string.” or depression. SIMULTANEITY: Occurrence of disparate actions MORPHOLOGICAL PHENOTYPES: An analysis operating at the same time. of the composite of an organism’s observable SMALL TALK: An informal type of discourse characteristics, both outward appearance not covering functional topics. (“It’s not the (shape, structure, color) and internal (bones, heat, it’s the humidity.”) organs, cells). SOLILOQUY: Speaking alone. Often used as NON-EUCLIDEAN GEOMETRY: Any geometry a theatrical device but in decline since the violating Euclid’s fifth postulate (the parallel advent of naturalism. postulate). This branch of geometry posits that through a point not on a line, there can TICKLE TORTURE: The use of tickling to be more than one line parallel to the original. abuse, dominate or humiliate. The victim (Think M.C. Escher.) laughs only out of reflex. Sometimes the act of torture continues to the point of urination. ORIGINAL SIN: Humanity’s state of imperfection (See: Incontinence.) and proclivity towards sin resulting from the fall of man. TRANSCENDENCE: Usually referring to the quality of existence beyond this known reality. PAPER TRAIL: Documents that serve as Usually reserved for sages and poets. evidence of one’s actions and/or opinions. Followed a lot by private investigators. TRANSGRESSION: A breach of law. A crime.

PIÑATA: A papier-mâché party favor filled, VAUDEVILLE: A light or comic entertainment usually with candy, and then broken, usually interspersed with songs, dances, animal with a stick. acts, etc.

WANDERLUST: The pressing urge to travel, to keep moving, to never rest. 7 profiles CATHERINE COMBS* (Beauty) makes her Goodman debut. Her regional theater credits include The Delling Shore and Bernadette in The Edge of Our Bodies, directed by Adam Rapp, both at the Humana Festival of New American Plays at Actors Theatre of Louisville; and Hamlet and A Midsummer Night’s Dream with Santa Susana Repertory Company. She has appeared on film in The Blind Side, Mania Days and 13 Going on 30, and her television credits include The Mentalist on CBS.

ANNE FOGARTY* (Voice of Lenore) makes her Goodman debut. She recently appeared in Lookingglass Theatre Company’s revival of Mary Zimmerman's Metamorphoses (Jeff nomination for Best Ensemble) as Aphrodite, a role she also played in the original production. Other Chicago credits include Charlotte in The Real Thing, Julia in Holiday and Ann in Man and Superman at Remy Bumppo Theatre Company; Tessa in Summertime and Alexandra in The Idiot at Lookingglass Theatre Company; Esther in The Glamour House at Victory Gardens Theater and Carol in Oleanna at Chicago Dramatists. Her regional credits include Eurydice in Metamorphoses at Hartford Stage, Missouri Repertory Theatre, the Cincinnati Playhouse in the Park and The Repertory Theatre of St. Louis; Mary Zimmerman's The Secret in the Wings at Berkeley Repertory Theatre, McCarter Theatre and Seattle Repertory Theatre; Terry in Side Man, Honey in Who’s Afraid of Virginia Woolf? and Anne Lindbergh in Hauptmann at Madison Repertory Theatre and The Governess in The Turn of the Screw at Illusion Theater in Minneapolis.

KATHERINE KEBERLEIN (Violet) makes her Goodman debut. Recent local credits include Boeing Boeing at Drury Lane Oakbrook Terrace; The Odd Couple at Northlight Theatre; Clybourne Park (understudy) at Steppenwolf Theatre Company; Fifty Words (Jeff nomination for Best Actress) at Profiles Theatre;When the Rain Stops Falling at Circle Theatre (Jeff Award for Best Play) and Brecht’s The Mother: A Musical at Oracle Theatre. She has also worked with Oak Park Festival Theatre, Remy Bumppo Theatre Company, Provision Theater Company, Theatre at the Center, Illinois Theatre Center, Light Opera Works and Buffalo Theatre Ensemble. She is a member of Screen Actors Guild and travels internationally to perform classic American music as a vocalist with Trio Chicago & Friends.

MIKE NUSSBAUM* (Colonel, Johnny) has directed and acted in Chicago theaters for more than 50 years, originating roles in David Mamet’s American Buffalo, A Life in the Theatre, Glengarry Glen Ross and others. He appeared in the Peter Brook production of The Cherry Orchard, which opened in New York and toured Russia and Japan. He has worked on and off Broadway, and in Dublin, Vancouver, with the Royal Shakespeare Company in Stratford, England, and theaters across the US, including Hartford Stage, Lincoln Center Theater, Manhattan Theatre Club, Atlantic Theater Company, Theater J and Second Stage Theatre. Shakespearean roles include Polonius, Shylock,

8 profiles Friar Laurence and John of Gaunt at Chicago Shakespeare Theater. Mr. Nussbaum has appeared on film in House of Games, Fatal Attraction, Field of Dreams and Men in Black. His work has been honored with an Emmy and a Drama Desk Award, and by the Joseph Jefferson Committee, DePaul University, the Illinois Legend Award, the University Club of Chicago and the Sarah Siddons Society. He recently appeared as Freud in the long-running Freud’s Last Session at The Mercury Theater in Chicago, and as Lord Suffolk in Chicago Shakespeare Theater’s production of Henry VIII.

GUY MASSEY* (Footnote, Fetus Two, Samuel) makes his Goodman debut. Other Chicago credits include Failure: A Love Story at Victory Gardens Theater, Tigers Be Still at Theater Wit, Of Mice and Men at Steppenwolf for Young Adults, Louis Slotin Sonata at A Red Orchid Theatre, These Shining Lives at Rivendell Theatre Ensemble, Jon with Collaboraction and The Strangerer with Theater Oobleck. He also appeared in Death of a Salesman at Milwaukee Repertory Theater. Mr. Massey has appeared on film inAt Any Price, Contagion, Fred Claus, The Promotion and Stranger Than Fiction, and his television credits include Boss on Starz, The Mob Doctor on Fox, Shameless on Showtime, The Chicago Code on Fox and The Beast on A&E.

ERIC SLATER* (Daniel, Fetus One) returns to the Goodman, where he previously appeared as Bob the Sheep in Revenge of the Space Pandas as part of the David Mamet festival. He has appeared in Chicago at Court Theatre, Writers’ Theatre, Steppenwolf’s Garage Theatre and Chicago Children’s Theatre, among many others. In New York, he has appeared in productions at The Public Theater, York Theatre Company and The Kitchen, and regional work includes work at American Repertory Theater in Boston, the Institute of Contemporary Art/Boston, the Detroit Institute of Arts Museum and Dobama Theatre in Cleveland. He is a company member with Rivendell Theatre Ensemble and a founding member of The New Ensemble, an immersive theater company. He will make his television debut as Greg Sullivan on NBC’s Chicago Fire this season. Mr. Slater has written and produced two short films and many other theatrical experiments.

NOAH HAIDLE (Playwright) returns to the Goodman, where his play Vigils premiered in 2006. His plays have premiered at Lincoln Center Theater, Roundabout Theatre Company and Rattlestick Playwrights Theater. Regionally, his plays have been produced at the Huntington Theatre Company, the Williamstown Theatre Festival, South Coast Repertory, Long Wharf Theatre, Woolly Mammoth Theatre Company, and many others, both nationally and abroad. He is the recipient of three Lincoln Center Lecompte Du Nuoy awards, the 2005 Helen Merrill Award for Emerging Playwrights, the 2007 Claire Tow Award and an NEA/TCG theater residency grant. His plays are published by Methuen in London, Suhrkamp in Berlin and Dramatists Play Service in New York City. His first produced screenplay, Stand Up Guys, starring Al Pacino, Christopher Walken and Alan Arkin, opened last year’s Chicago International Film Festival and opened nationally in February 2013. Smokefall opened at South Coast Repertory in April. Mr. Haidle is currently working on new play commissions from Lincoln Center Theater, Yale Repertory Theatre and South Coast Repertory, and is set to direct his original

9 profiles screenplay The Rodeo Clown, produced by Stanley Tucci and Steve Buscemi’s company Olive Productions and Mosaic Media Group. Mr. Haidle is a graduate of Princeton University and The Juilliard School and is a proud resident of Detroit.

ANNE KAUFFMAN (Director) is an Obie Award–winning director. Production highlights include Somewhere Fun at Vineyard Theatre; Detroit at Playwrights Horizons; Belleville at New York Theatre Workshop, Yale Repertory Theatre and Steppenwolf Theatre Company; Tales from My Parents’ Divorce at the Williamstown Theatre Festival and The Flea Theater; This Wide Night at Naked Angels; Becky Shaw and Body Awareness at The Wilma Theater; Slowgirl and Stunning at LCT3; Sixty Miles to Silver Lake with Page 73 Productions and Soho Rep; God’s Ear at Vineyard Theatre and New Georges; The Thugs at Soho Rep and the musical We Have Always Lived in the Castle at Yale Repertory Theatre. Upcoming productions include Cherokee at The Wilma Theater, 100 Days at Z Space and Your Mother's Copy of The Kama Sutra at Playwrights Horizons. Ms. Kauffman is a recipient of the Joan and Joseph F. Cullman Award for Extraordinary Creativity, a Lilly Award, the Alan Schneider Director Award and several Barrymore awards. She is a New York Theatre Workshop Usual Suspect, a member of Soho Rep’s Artistic Council, on the New Georges’ Kitchen Cabinet, an alumna of the Lincoln Center Directors Lab and The Drama League, a founding member of The Civilians and an associate artist with Clubbed Thumb.

KEVIN DEPINET (Set Designer) returns to the Goodman, where he most recently designed scenery for the 2012 production of The Iceman Cometh. Other Goodman credits include New Stages Amplified, Mary, High Holidays and The Crowd You’re In With. He has designed for Steppenwolf Theatre Company, Chicago Shakespeare Theater, McCarter Theatre, Court Theatre, Writers’ Theatre, Drury Lane Theatre, Chicago Children’s Theatre, the Mark Taper Forum, Denver Center Theatre Company, Arden Theatre Company, Milwaukee Repertory Theater, American Players Theatre, the Indiana Repertory Theatre, the Cincinnati Playhouse in the Park, Glimmerglass Opera and the Illinois Shakespeare Festival. He designed scenery for Michael Mann’s film Public Enemies (Universal Studios). He was also the associate designer for August: Osage County (Steppenwolf Theatre Company, National Theatre in London, the Music Box Theatre on Broadway and the US national tour). Mr. Depinet designed scenery for Detroit at London’s National Theatre in 2012, as well as a touring museum exhibit for Sherlock Holmes. He is an adjunct professor of design at DePaul University. Mr. Depinet studied at Ball State University and the Yale School of Drama.

ANA KUZMANIC (Costume Designer) most recently collaborated with the Goodman on Measure for Measure during the 2012/2013 Season. Previous costume designs for the Goodman include Camino Real, Mary, The Seagull, A True History of the Johnstown Flood, Desire Under the Elms, Rock ’n’ Roll, The Cook and King Lear. Her Chicago credits include work at Steppenwolf Theatre Company, Court Theatre, Lookingglass Theatre Company, Chicago Shakespeare Theater and The House Theatre of Chicago. Ms. Kuzmanic is the recipient of a Jeff Award for The Comedy of Errors at Chicago Shakespeare Theater. On Broadway, Ms. Kuzmanic designed costumes for the Tony Award-winning August: Osage County, Robert Falls’ Desire Under the Elms and Superior Donuts, directed by Tina Landau. Regional theater credits include work with Milwaukee Repertory Theater, Berkeley Repertory Theatre, McCarter Theatre, the Shakespeare Theatre Company, Trinity Repertory Company, the Geffen Playhouse and the Oregon Shakespeare Festival. She is currently working on The Jacksonian at The New Group in New York and Don Giovanní at the Lyric

10 profiles Opera of Chicago, both directed by Robert Falls. A native of the former Yugoslavia, Ms. Kuzmanic earned an MFA from Northwestern University, where she is currently an associate professor of costume design.

DAVID WEINER (Lighting Designer) Broadway credits include Romeo and Juliet, Dead Accounts, Grace, Godspell, The Normal Heart, reasons to be pretty, Butley, Dinner at Eight (at Lincoln Center Theater), Betrayal (at Roundabout Theatre Company) and The Real Thing. His off-Broadway credits include productions at MCC Theater, Manhattan Theatre Club, Second Stage Theatre, Playwrights Horizons, The Public Theater, New York Theatre Workshop, Theatre for a New Audience, Vineyard Theatre and Atlantic Theater Company. His work has appeared regionally at Center Theatre Group, the Oregon Shakespeare Festival, the Guthrie Theater, La Jolla Playhouse, the Alley Theatre, McCarter Theatre, the Huntington Theatre Company, American Repertory Theater, Kansas City Repertory Theatre, the Williamstown Theatre Festival and Berkeley Repertory Theatre. Museum design includes work for the North Carolina Museum of Natural Sciences Nature Research Center in Raleigh, North Carolina. Mr. Weiner received a 2012 Lucille Lortel Award (Through a Glass Darkly), a 2011 LA Ovation Award (Venice), a 2011 Drama Desk Award nomination (Small Fire) and 2005 Lucille Lortel Award (Rodney’s Wife). DavidWeinerDesign.com.

LINDSAY JONES (Sound Designer) returns to the Goodman, where he previously designed sound for In the Continuum, Dinner With Friends, Wit, Among the Thugs and four seasons of A Christmas Carol. His work will appear on Broadway in the upcoming A Time to Kill, and his off-Broadway credits include Mr. Joy at LCT3; Through the Night at Union Square/Westside Theater; Wild With Happy at The Public Theater; The Burnt Part Boys at Playwrights Horizons/Vineyard Theatre; Top Secret at New York Theatre Workshop; Bronx Bombers at Primary Stages and many others. Regionally, his work has appeared at the Guthrie Theater, Hartford Stage, the Alliance Theatre, Arena Stage, Chicago Shakespeare Theater, Steppenwolf Theatre Company, Lookingglass Theatre Company and many others. International credits include Stratford Shakespeare Festival(Canada), Royal Shakespeare Company (England), and productions in Austria, Zimbabwe, South Africa and Scotland. He has received six Jeff awards and 16 nominations, two Ovation awards and three nominations, a LA Drama Critics Circle Award, two ASCAP Plus awards, three Drama Desk Award nominations, and nominations for Henry Hewes Design awards and Barrymore awards, among others. He created the scores for Magnolia Pictures’ The Brass Teapot and HBO Films’ A Note of Triumph: The Golden Age of Norman Corwin (2006 Academy Award for Best Documentary). LindsayJones.com.

TANYA PALMER (Dramaturg) is the director of new play development at Goodman Theatre, where she coordinates New Stages, the theater’s new play program, and has served as the production dramaturg on a number of plays including the world premieres of Vigils by Noah Haidle, Magnolia by Regina Taylor, The Long Red Road by Brett C. Leonard and the Pulitzer Prize–winning Ruined by Lynn Nottage. Prior to her arrival in Chicago, she served as the director of new play development at Actors Theatre of Louisville, where she led the reading and selection process for the Humana Festival of New American Plays. She is the co-editor, with Amy Wegener and Adrien-Alice Hansel, of four collections of Humana Festival plays, published by Smith & Kraus, as well as two collections of 10-minute plays published by Samuel French. Originally from Calgary, Alberta, Canada, she holds an MFA in playwriting from York University in Toronto.

11 profiles KIMBERLY OSGOOD* (Production Stage Manager) celebrates her 24th season at Goodman Theatre this year, having stage-managed more than 65 productions since 1990. Among them are Black n Blue Boys/Broken Men, The Seagull, The Long Red Road, Ruined, Talking Pictures, Hughie, The Trojan Women, Big Love (also at Brooklyn Academy of Music), Garden, Schoolgirl Figure, Lillian, Vigils, Mirror of the Invisible World, Escape from Paradise, The Notebooks of Leonardo da Vinci (also at Lincoln Center Theater’s Serious Fun Festival), Eliot Loves and Marvin’s Room. Additional credits include productions for Steppenwolf Theatre Company, Northlight Theatre and Court Theatre. Before coming to Chicago, Ms. Osgood spent eight years with Cincinnati Playhouse in the Park, where she served as director of the Intern Company and production stage manager.

ROBERT FALLS (Goodman Theatre Artistic Director) has been the artistic director of Goodman Theatre since 1986. From 1977 to 1985, he was the artistic director of Wisdom Bridge Theatre. Last season, in addition to directing an acclaimed new production of Measure for Measure at the Goodman and the world premiere of Beth Henley’s The Jacksonian at the Geffen Playhouse, Mr. Falls received the 2012 Jeff awards for Best Director and Best Production of a Play for his sold-out production of The Iceman Cometh, starring Nathan Lane and Brian Dennehy. Other recent productions include John Logan’s Red for the Goodman and Arena Stage, Jon Robin Baitz’s Three Hotels for the Williamstown Theatre Festival, Chekhov’s The Seagull and the world premiere of Rebecca Gilman’s A True History of the Johnstown Flood (both at the Goodman) and King Lear at the Goodman and the Shakespeare Theatre (Helen Hayes Award). Mr. Falls’ credits also include Desire Under the Elms on Broadway and at the Goodman, the Tony-nominated Broadway revival of Eric Bogosian’s Talk Radio, Richard Nelson’s Frank’s Home for the Goodman and Playwrights Horizons, and the American premiere of Shining City on Broadway. His production of Elton John and Tim Rice’s Aida for Walt Disney Theatricals ran on Broadway for four years and toured nationally and abroad. Two of his most highly acclaimed Broadway productions, Arthur Miller’s Death of a Salesman and Eugene O’Neill’s Long Day’s Journey into Night, were honored with seven Tony awards and three Drama Desk awards. Other Goodman credits include the world premieres of Arthur Miller’s Finishing the Picture, Rebecca Gilman’s Blue Surge and Dollhouse, Eric Bogosian’s Griller, Louis Rosen and Thom Bishop’s Book of the Night, Steve Tesich’s The Speed of Darkness and On the Open Road, John Logan’s Riverview: A Melodrama with Music and the American premiere of Alan Ayckbourn’s House and Garden. This fall, he will remount The Jacksonian off Broadway for The New Group. After that, he will direct the world premiere of Rebecca Gilman’s Luna Gale at the Goodman.

ROCHE EDWARD SCHULFER (Goodman Theatre Executive Director) is in his 34th season as executive director and is celebrating 40 years with the Goodman. On September 4, 2013, his 40th anniversary with the theater, Mr. Schulfer was honored with a star on the Goodman’s “Walkway of Stars.” During his tenure he has overseen more than 335 productions, including close to 130 world premieres. He launched the Goodman’s annual production of A Christmas Carol, which celebrates 36 years as Chicago’s leading holiday arts tradition this season. In partnership with Artistic Director Robert Falls, Mr. Schulfer led the establishment of quality, diversity and community engagement as the core values of Goodman Theatre. Under their tenure, the Goodman has received numerous awards for excellence, including the Tony Award for Outstanding Regional Theater, recognition by Time magazine as the Best Regional Theatre in the US, the Pulitzer Prize for Lynn Nottage’s Ruined, and many Jeff awards for outstanding achievement in Chicago-area theater. Mr. Schulfer has negoti-

12 profiles ated the presentation of numerous Goodman productions to many national and international venues. From 1988 to 2000, he coordinated the relocation of the Goodman to Chicago’s Theatre District. He is a founder and two-time chair of the League of Chicago Theatres, the trade association of more than 200 Chicago area theater companies and producers. Mr. Schulfer has been privileged to serve in leadership roles with Arts Alliance Illinois (the statewide advocacy coalition); Theatre Communications Group (the national service organization for more than 450 not-for-profit theaters): the Performing Arts Alliance (the national advocacy consortium of more than 18,000 organizations and individuals); the League of Resident Theatres (the management association of 65 leading US theater companies); Lifeline Theatre in Rogers Park and the Arts & Business Council. He is honored to have been recognized for his work by Actors’ Equity Association for promoting diversity and equal opportunity in Chicago theater; the American Arts Alliance; the Arts & Business Council for distinguished contributions to Chicago’s artistic vitality for more than 25 years; Chicago magazine and the Chicago Tribune as a “Chicagoan of the Year”; the City of Chicago; Columbia College Chicago for entrepreneurial leadership; Arts Alliance Illinois; the Joseph Jefferson Awards Committee for his partnership with Robert Falls; North Central College with an Honorary Doctor of Fine Arts degree; Lawyers for the Creative Arts; Lifeline Theatre’s Raymond R. Snyder Award for Commitment to the Arts; Season of Concern for support of direct care for those living with HIV/AIDS; and the Vision 2020 Equality in Action Medal for promoting gender equality and diversity in the workplace. Mr. Schulfer is a member of the adjunct faculty of The Theatre School at DePaul University, and a graduate of the University of Notre Dame where he managed the cultural arts commission.

FOR SMOKEFALL:

ASSOCIATE SOUND DESIGNER ASSISTANT TO THE DIRECTOR Nick Keenan Beth Lopes

STAGE MANAGEMENT INTERN LITERARY INTERN Hilary Surface Sophie Blumberg

13 history Goodman Theatre has been internationally recognized for its artists, productions and programs since its founding in 1925 by William O. Goodman and his family in memory of their son, Kenneth Sawyer Goodman. Goodman Theatre, which celebrated 10 years in the North Loop Theatre District in 2010, is a major cultural, educational and economic pillar in Chicago. Named the nation’s “Best Regional Theater” by Time magazine, Goodman Theatre has garnered hundreds of awards for artistic achievement and community engagement, including numerous Tony Awards and two Pulitzer Prizes. Under the leadership of Artistic Director Robert Falls and Executive Director Roche Schulfer, Goodman Theatre’s priorities include new plays, reimagined classic productions, culturally specific work and musical theater. Over the past 30 years, the Goodman has produced more than 100 world or American premieres. Robert Falls’ productions of Death of a Salesman, Long Day’s Journey into Night and King Lear have been celebrated nationally and internationally, along with his artistic collaboration with actor Brian Dennehy. Cultural diversity stands at the forefront of the Goodman’s mission; over the past two decades, one-third of Goodman productions (including 21 world premieres) have featured artists of color, and the Goodman was the first theater in the world to produce all 10 plays in August Wilson’s Twentieth- Century Cycle. Since 2003, the Latino Theatre Festival has been a biennial celebration of Latino theater companies from Chicago and around the globe. Over the past two decades, the Goodman has produced 25 musical theater works, including 10 world premieres. Each year the Goodman’s numerous education and community engagement programs, including the highly praised Student Subscription Series, serve several thousand Chicago public high school students. In addition, for 35 years the annual holiday tradition of A Christmas Carol has led to the creation of a new generation of theatergoers in Chicago. Goodman Theatre’s leadership includes the distinguished members of the Artistic Collective: Brian Dennehy, Rebecca Gilman, Henry Godinez, Steve Scott, Chuck Smith, Regina Taylor, Henry Wishcamper and Mary Zimmerman. The Chairman of Goodman Theatre’s Board of Trustees is Ruth Ann M. Gillis and Sherry John is President of the Women’s Board. American Airlines is the Exclusive Airline of Goodman Theatre.